Evelyn Waugh's comic exploration of 1930s journalism Scoop was the subject of April's club meeting, and while some saw the funny side, others were left less amused.
Supporters of the book did find its humour and subject matter still hit home, despite it being written 90 years ago. They found the farce and satire clever, acid and laugh-out-loud funny.
There was appreciation for some of the eccentric characters, and in particular the family of the protagonist William Boot. In fact, some readers thought the book would have benefited from more focus on the batty Boots.
But as well as farce, there was a sense for supporters that Scoop still had much to say about journalism and mass media. The portrayal of newspaper baron Lord Copper's terrorising effect on his staff still rang true.
There were though qualms about the distinctly dated racist language and attitudes that Waugh uses and portrays. Although they may have accurately reflected the values and vocabulary used in the 1930s, 90 years later they did not endear some members to either author or book.
Some also felt the novel ran out of steam a little in its final third, and that the best moments were in the initial set-up and the main action in fictional Abkhazia.
There was some credit given to Waugh that he did at least show the Abkhazian regime outwitting many of the reporters.
For some though the book just did not appeal, the humour not really cutting through, and the lack of likeable characters putting up a barrier, with everything feeling a little inconsequential. There was much discussion about Waugh's merits and range as an author, and some were keen to read more.

March saw the group tackle Melissa Lucashenko's dual timeline tale of Aboriginal Australia.

Edenglassie principally takes place in the early colonial days of Brisbane, but also includes a modern day section set in an Australia that is still trying to come to terms with that legacy.

For most members, the 19th Century sections were more engaging and successful, with some struggling to relate or connect to the contemporary characters.

Lucashenko's regular use of First Nations language did confuse and act as a barrier for some. There were members who believed the book would have more appeal if it had been avoided.

But members did recognise it added authenticity, and there was admiration for her unwillingness to compromise in a story that was very much about the impact of colonialism.

The number of names in the 19th Century section also left some struggling to stay with the narrative. 

For the most part there was appreciation that this was story that needed to be told, and that it did show the devastating impact of colonialism, though some believed they learned nothing new from it. For some it was important to note that this was part of Britain's imperial history, as well as Australia's.

But some did think the book fell short, with a number of members saying they believed it would have benefited from being longer to allow for more depth and exploration of character.

There was some discussion about the modern-day characters, with some members actively disliking the activist Winona, but for some this was an effective way of exploring the genuine tensions and attitudes of contemporary Australians. Some also appreciated the humour, but others found it fell flat.

There was some division about the ending, and while some found it powerful and emotional, others felt it was a bit of a cop-out and did not allow the book to go out on the right note. Overall, the supernatural elements didn't satisfy some. 

But supporters believed this was an effective portrait of just what horrors colonial exploitation unleashed, with a sense that this was a turning point in Australia's history.

The Tyneside Book Club discussed a rediscovered classic in February. So Long, See You Tomorrow received critical praise and appreciation when it was first published in 1980 but has gained new admirers in recent years.

Despite being a short novel, members found it was a book that required considerable concentration, and needed to be read closely rather than quickly. Some felt this was a book that might repay re-reading.

Some found themselves confused by the array of names and characters, and by the structural approach of Maxwell.

While for some the first half, which dealt with the narrator's own childhood tragedy, was the most compelling, for others, the novel only really took a grip on their attention when it began to deal with the events leading to the murder that's revealed at the opening of the novel.

There were clear signs of its origins as a two-part story in the New Yorker.

Members found this was a book suffused with melancholy and sadness, and it was clear the writer had laid out some of his own autobiographical scars onto its pages.

For the admirers, Maxwell did infuse it with impact and empathy, and there was power to a scene in which the main character feels guilt. There was a vivid picture of a community, and of the human frailties that powered the tragedy at its heart.

For some though, there was a sense of self-indulgence, and they struggled to care much about the main character and the plot.

And whereas some felt So Long, See You Tomorrow did deserve its lauded position in US literature, some felt Maxwell, a former literary editor of the New Yorker, had produced a work which didn't quite match up to the authors he would have reviewed, worked with and profiled.

There was though plenty to discuss for the meeting, and although members were divided about how successful a novel it was, there was appreciation for some fine writing and interesting themes.

Halloween may have come and gone, but there was a haunting theme to November's meeting as members tackled Michelle Paver's Arctic chiller Dark Matter.

There was much appreciation for Paver's atmospheric writing and her ability to situate the reader in a cold, harsh world.

There was general agreement though that even if the book was effectively written, it didn't feel particularly spine-chilling. That didn't put members off, and for some it was a relief, but there was some discussion about why it didn't seem too terrifying.

Some felt a writing style which felt novelistic rather than an authentic first person narration did not allow the reader to suspend disbelief.

There was agreement though that this was a convincing account of the mental disintegration of the central character, with the book also effectively exploring the class divisions within the group of explorers.

Members enjoyed the growing relationship between protagonist Jack and one of the wolves. The sense of dread was also built effectively as the haunting of the party gathered pace.

There were some convenient coincidences that allowed Jack's isolation to build, but that went with the territory of as ghost story.

There was some discussion about the need and impact of a significant death toward the novel's conclusion, with opinion varying on whether it was too predictable.

Bob Mortimer may now have published his third novel, but the Tyneside Book Club went back to his debut for its October meeting.

The Satsuma Complex certainly proved a hit for much of the group, and for some it was a welcome return to a book they had already enjoyed.

For its supporters, it delivered humour and warmth with characters that the reader cared about, and a narrative that kept you engaged in the outcome.

Most members enjoyed the surreal elements, and the unique Bob Mortimer flavour to the dialogue and plot. There was some division though. While most members enjoyed the regular conversations between the main character Gary and squirrels, there were some who found them an unwelcome distraction.

For some members, the thriller plot proved to be the weakest element of The Satsuma Complex and their interest in the outcome declined as the police corruption plot unravelled. 

Those members also felt some frustration that Mortimer did not have the confidence to write a humorous and surreal novel without the skeleton of a crime mystery, even if that would have harmed its commercial prospects.

For some members though, it was the plotting that provided the interest, and they did not feel the humour worked as well. There were some though who just found the whole book left them cold, and it was agreed it would not work so well if you didn't already enjoy Bob Mortimer's brand of comedy.

But for a majority the combination offered a welcome synthesis of styles. Some had already read and enjoyed the sequels and felt they were an advance on this debut.

John Williams' Stoner has become a rediscovered classic, after being championed by fans in the 21st Century, and many Tyneside Book Club members found a lot to admire and enjoy in this tale of a life.

Supporters of the novel found it a compelling character study that really got under the skin of William Stoner. Although this was an account of a seemingly unremarkable academic career, its strength was its deep dive into an ordinary life.

The writing was admired for its tight and economic style, but also for its ability to mine the emotional life of a man who was largely a closed book to his colleagues and even his family.

Although not heavy on plot, members found the battle Stoner fought in his academic life the most compelling aspect. The novel though resisted a straightforward depiction of heroes and villains, adding nuance to Stoner's antagonists.

For some Stoner's wife Edith was a villain, but members appreciated that Williams had tried to give her enough depth to explain her behaviour. Some members though found it hard to understand and forgive Stoner's retreat from his relationship with his daughter and the damage it did.

There were members though who struggled to engage with the characters and found it hard to find much that was empathetic or interesting about Stoner and his life. There was some frustration with his passivity in parts of his life. 

Overall though members understood why there had been a revival of interest in a novel that could easily have been forgotten, although it was noted that its melancholic tone seemed to have made it more of a success in the UK and Europe than the US.

June saw the Tyneside Book Group tackle a very different version of the Greek myths, with Natalie Haynes placing the emphasis on the stories of the women Homer only mentions in passing in The Iliad.

A Thousand Ships had both fans and detractors among members, although everyone appreciated some elements of her take on the events surrounding The Iliad and The Odyssey.

For supporters, this book was a necessary corrective to some male-dominated accounts, and also benefited from the perspective of a woman, albeit one born thousands of years after these tales were first told.

Natalie Haynes certainly had the classical background though to base her account on intimate knowledge of the source material, and she made it clear that was largely the basis for the novel.

Members enjoyed the pace of the writing and the use of different perspectives to keep the narrative moving along. They also appreciated her choice not to write a straightforward narrative, but to move around in both time and place.

There was some division on the sections narrated by Penelope. For some members these were the pinnacle, written with wit but also with insight into how Odysseus' wife might deal with a long separation.

For others though these sections felt glib and lacked psychological insight, offering a missed opportunity. That was also a more general criticism of the book for some, who felt that Haynes added little depth or new perspective on events and characters. Some felt they would much rather have returned to the original classical sources.

Those who enjoyed the book though felt she did bring a freshness to the tales, and breathed life into characters like Cassandra, Hecuba and Clytemnestra. They felt she brought home the powerlessness of women in a male-dominated society which treated them as possessions.  

The Tyneside Book Club began spring by reading Claire Fuller's award-winning Unsettled Ground.

Members found its account of twins living on the edge of society well-written and engaging, with plenty to discuss.

The siblings, Jeanie and Julius, were felt to be well-drawn and realistic, although some members found it easier to empathise with Jeanie, and did not find Julius as fleshed-out.

Members also found the world built by Fuller was a rounded one, with both cruelty and kindness on show. Supporting characters were generally well-drawn, although some found a few a little stereotypical.

There was some discussion about just how dysfunctional the Seeder family was. Clearly, mother Dot had left the twins poorly-prepared to cope with modern life after her death, and had told some unforgivable lies to them.

But members also noted the warmth and love in their relationships, and that families from a more "normal" background in the novel were not necessarily happier or more well-adjusted.

And although the twins' family background was far from conventional, there were also universal themes about sibling relationships and the inability for us perhaps to really understand the inner lives of parents.

There were times when members did find the problems encountered by the Seeders somewhat heavy-going, but that was balanced by the kindness and humanity of those who did try and help them.

The plot twists and reveals were also felt to be well-handled, with the author maintaining the interest of readers without slipping into melodrama. 

Despite what could have been a bleak ending, there was a sense of hope at the conclusion of what for members was an enjoyable read.

March saw members tackle a crime novel, but one with an unusual format. Janice Hallett has brought the epistolary novel into the 21st Century by using emails and texts to tell a murder mystery.
Members read her first novel, The Appeal, which has proved such a hit that it has produced a number of follow-ups from the author. The reader is plunged into the machinations of an am-dram group, and the complications of a charity appeal for an apparently sick child.
For many members this was an enjoyable read, and, although it clocked in at more than 400 pages, its format helped to maintain the pace and interest.
There was appreciation for the intricacy of a plot that kept readers guessing and was far from straightforward. Supporters were intrigued by just exactly what was playing out.
Hallett was also felt to have used humour well to draw you in to the world she created, and making you feel you had a stake in the outcome.
There was some discussion about how long it took for the murder to actually take place (around 250 pages). Some felt they were left waiting too long, while others appreciated the need to build the world and set the scene, feeling the delay added to the tension.
For some though, even if the book drew them in at first, their interest waned in the middle sections, and patience was tested. There was still some investment in the outcome, but it had lost its grip.
Some felt there were just too many characters. Although some were there as possible suspects, others felt a little unnecessary.
There was also a growing sense for some of how contrived The Appeal was with a framing device that grew unconvincing. A failure to explain why key details and significant chunks of correspondence were missing also ended up robbing the conclusion of power.
There was also discussion about the format. While some thought its reliance on emails and texts was both original and appealing, others felt it made it relentless and unfocused.
There was agreement that this was a book best read in physical form as those who sampled it on ebook or phone struggled more.
It was another book and another month though that generated a lively discussion.

February's meeting discussed Penelope Fitzgerald's 1978 Booker shortlisted The Bookshop. It is a comparatively brief novel, and opinions varied on how much it achieved in fewer than 200 pages.
Those who appreciated it most felt it delivered a powerful punch in its short span, with great economy but also fine writing. Fitzgerald seemed in complete control of her material with focus and purpose.
And for fans, its apparent cosy rural setting belied an undercurrent of darkness and nastiness, as this showed a closed and hierarchical community crushing the life out of the bookshop and its owner Florence.
But as well being a sad and melancholy book, there were flashes of genuine humour and memorable characters.
Members particularly enjoyed Florence's 10-year-old spiky assistant Christine, and her villainous nemesis Violet Gamart. 
Class and power featured strongly and although this was a portrait of an individual Sussex village, the themes were universal enough to be recognisable traits of many societies. Its setting on the verge of the 1960s and social change felt significant.
For some though the book did not have the same impact, failing to cohere into a novel that held their attention. They also believed it could have benefited from expansion and a broader canvas. Some found it a slog despite its length.
A supernatural element to the story also felt superfluous to some members, who felt it added little. Some felt Florence's apparent passivity made it hard to connect to her plight.
A member who had seen the film version felt it was potentially preferable to the book. There was agreement though that this was a small book that promoted quite a lot of discussion.